(g) mrtA h is aAvA) p hrc d sr uw jAy jSlAd ko lEkn vo kh jAy\ Ek \hA aOr" jSlAd = executioner (h) logo\ ko { ; fFd-e-jhA tAb kA DokA

h hr ro) EdKAtA h m\ ik dA -e-EnhA aOr { ; fFd = sun, tAb = power/courage, EnhA = hidden (i) ltA, n agr Edl tMh\ dtA, koI dm c\n { ; krtA, jo n mrtA koI Edn, aAh-ao-' A aOr ; ' A = clamour ; (j) pAt nhF\ jb rAh, to cw jAt {\ nAl h zktF { mrF tb'aA to hotF { rvA aOr h h nAl = lamentation, tb'aA = temperament (k) {\ aOr BF dEnyA m\ s; nvr bohot aQC h ; kht {\ Ek \ AElb" kA { a dA)-e-byA aOr h h

s nvr ;

= poet

(i) yA fb ko dKt T Ek hr gofA-e-EbsAt dAmAn-e-bA bAn-ao-k'-e-gl-'rof { h ; gofA = corner, bA bAn = gardener, k' = sleeve, gl-'rof = orist ; (j) l;('-e-E rAm-e-sA*F-ao-)O*-e-sdA-e-c\g y j t-e-EngAh vo E'dOs-e-gof { h E rAm = speed, )O* = taste, sdA = sound, c\g = lute, E'dOs = paradise, gof = ear (k) yA sB dm jo dEKy aAkr to b m m\ ; { n vo s!r-ao-so) n jof-ao- rof { h ; s!r = pleasure, so) = passion/heat ; (l) dA -e-E'rA*-e-sohbt-e-fb kF jlF hI ; ik fMmA rh gI { so vo BF Amof { h h E'rA* = separation, sohbt = company (m) aAt {\ {b s y m)AmF\ yAl m\ h \ AElb", srFr-e- AmA nvA-e-srof { h {b = hidden/mysterious, m)AmF\ = topics, srFr = scratching sound made by a pen, AmA = pen, nvA = sound, srof = angel 37. (a) { bs Ek hr ik unk ifAr m\ EnfA aOr h krt {\ mhoNbt to g)rtA { gmA aOr h ; h ; ; gmA = doubt/suspicion ; (b) yArb ! vo n smJ {\ n smJ\g mrF bAt h d aOr Edl unko, jo n d mJko )bA aOr ; ; (c) aAb s { ?yA us EngAh-e-nA) ko {v d } h p { tFr m*rr mgr uskF { kmA aOr h h ; aAb = eyebrow, { b d = patch } p (d) t;m fhr m\ ho to hm\ ?yA m ? jb uW\g l aAy\g bA)Ar s jAkr Edl-ao-jA aOr (e) hrc d sbk-d-t he b;t-EfknF m\ ; ; hm {\, to aBF rAh m\ { s\g-e-EgrA aOr h h sbk-d-t (or sbk-d-t both are correct) = expert, bt-EfknF = iconoclast, s\g = stone, ; ; ; EgrA = heavy (f) { n-e-Ejgr jof m\ Edl Kol k rotA h hot kI jo dFdA-e- nAbA-E'fA aOr dFdA = eye, nAbA = mixture of blood and water, E'fA = shed /spread, nAbA = ( = blood) + ( aAb = water), nAbA-E'fA = to sheds tears of blood

(j) khA t;mn Ek \?yo\ ho {r k Emln m\ z-vAI ?" bjA kht ho, sc kht ho, E'r kEhyo Ek \hA ?yo\ ho ?" z-vAI = disgrace, bjA = right/correct (k) EnkAlA cAhtA { kAm ?yA tA'ano\ s t \ AElb" h tr b-mhr khn s vo tJ pr mhrbA ?yo\ ho ? ; tA'anA = taunter, b-mhr = unkind/repulsive 36. (a) );Smt-kd m\ mr fb-e- m kA jof { h ik fMm'aA { dlFl-e-shr, so mof { h h )Smt = darkness, dlFl = proof, shr = morning ; (b) n m dA-e-EvsAl n n)ArA-e-jmAl { ; m t hI Ek aA tF-e-c m-ao-gof { h ; ; m dA = good news, EvsAl = meeting, n)ArA-e-jmAl = seeing a beautiful face, ; aA tF = harmony/friendship/peace, c m = eye, gof = ear (c) my n EkyA { , h-n-e- ; d-aArA ko b-EhjAb h ; 'e fO*, yA ijA)t-e-t-lFm-e-hof { h my = bar, ; d-aArA = self adorer, EhjAb = veil, t-lFm = greeting (d) gOhr ko i?d-e-gdn-e- ; bA m\ dKnA ?yA aOj pr EstArA-e-gOhr-'rof { h gOhr = pearl/gem, i?d-e-gdn = necklace, ; bA = a beautiful person/sweetheart, aOj = highest point/summit, 'rof = merchant (e) dFdAr, vAdA, hOslA, sA*F, EngAh-e-m-t b m-e- yAl mkdA-e-b- rof { { h dFdAr = appearance, b- rof = quite/dead (f) 'e tA)A vAErdAn-e-EbsAt-e-hvA-e-Edl E) hAr gr tMh\ hvs-e-nA-ao-nof { h ; vAErdn = arrivals, EbsAt = chess, hvA = desire/greed, E) hAr = be warned !, hvs = lust/greed, nA-ao-nof = feasting/drinking (g) dKo m;J jo dFdA-e-ibt-EngAh ho } mrF sno jo gof-e-nsFht-Enyof { h ; dFdA = sight, ibt = admonition, gof = ear, nsFht = advice, Enyof = listener } (h) sA*F bA-jSvA d mn-e-imAn-ao-aAghF ; mE/b bA-n mA rh)n-e-tMkFn-ao-hof { h ; aAghF = wisdom, mE/b = singer, rh)n = robber, tMkFn = authority/power ;

(j) m\n mjn p lwkpn m\ \asd" { s\g uWAyA TA Ek sr yAd aAyA s\g = stone 35.hNbt ko n lAy tAb jo m kF. . sr-EgrA = arrogant/proud (c) EkyA m. EfkvA = complaint. !dAd = report/statement (f) y kh skt ho \hm Edl m\ nhF\ {\" pr y btlAao h Ek jb Edl m\ tMhF-tm ho to aAKo s EnhA ?yo\ ho ? .J s !dAd-e-cmn kht n Xr hmdm EgrF { Ejs p kl EbjlF vo mrA aAEfyA ?yo\ ho ? h *'s = cage/prison. j bA = desire/feeling.vAr n z-vA. AnA-vFrAnF = ruinning of home (i) yhF { aA)mAnA to stAnA Eks ko kht {\ ? h h 'ad k ho Ely jb tm to mrA iEMthA ?yo ho ? \ . ' A = clamour . s. rA)dA = friend (d) v'A { sF ? khA kA i * ? jb sr PownA WhrA k to E'r 'e s\g-Edl trA hF s\g-e-aA-tA ?yo\ ho ? s\g-Edl = hard hearted/merciless. s\g-e-aA-tA = threshold (e) *'s m\ m. dKo jm EkskA { h h . . E'tnA = quarrel. v)'aA = conduct/behaviour.bk-sr = light headed/ unsteady. 'ad = enemy. = habit. ^ (h) y E'tnA aAdmF kF AnA-vFrAnF ko ?yA km { ? h he tm do-t Ejsk. d mn uskA aA-mA ?yo\ ho ? .hvAr = comforter. lg aAg is m. hm apnF v)'aA ?yo\ bdl\ ? sbk-sr bnk ?yA pC\ Ek hm s sr-EgrA ?yo\ ho ? . iEMthA = examination dEmyA = between . vo mrA rA)dA ?yo\ ho ? m. kfAkf dEmyA ?yo\ ho ? . . kfAkf = struggle/dilemma. (a) EksF ko d k Edl koI nvA-s j-e-' A ?yo\ ho ? . n ho jb Edl hF sFn m\ to E'r mh m\ )bA ?yo\ ho ? . . n KF\co gr tm apn ko. (b) vo apnF n Cow\g. EnhA = hidden (g) lt { j bA-e-Edl kA Ef?vA. nvA-s j = singer. tAb = courage/patience.

)d = quickly.(h) kF mr *(l k bAd usn j'A s tObA hAy us )d-pfmA kA pfmA honA j'A = oppression. ?yo\ trA rAhg)r yAd aAyA ? ^ . (i) koI vFrAnF-sF-vFrAnF { h d t ko dK k Gr yAd aAyA d t = desert .rt-e-'EryAd khA Edl s t\g aAk Ejgr yAd aAyA jrt = courage/valour . l^d = heaven/paradise (g) aAh vo j. gmg tA = missing . yAnF E'r vo n-r\g-e-n)r yAd aAyA { { n-r\g = fascinating (d) u -e-vAmAdgF 'e hsrt-e-Edl nAlA krtA TA Ejgr yAd aAyA u = excuse. vAmAdgF = tiredness (e) E) dgF yo\ BF g)r hF jAtF . EgrbA = collar h 34. (f) ?yA hF Er vA s lwAyF hogF Gr trA . pfmA = ashamed/embarrassed (i) { ' us cAr Egrh kpw kF E*-mt \ AElb" h Ejs kF E*-mt m\ ho aAEf* kA EgrbA honA { ' = alas!. tf^nA (or Etf^nA ) = thirsty (b) dm ElyA TA n *yAmt n hno) E'r trA v t-e-s'r yAd aAyA hno) = yet/still (c) sAdgF hAy tm A. Egrh = one sixteenth of a yard. .J dFdA-e-tr yAd aAyA Edl Ejgr tf^nA-e-'EryAd aAyA dFdA-e-tr = wet eyes. (h) E'r tr kc ko jAtA { yAl h Edl-e-gmg tA mgr yAd aAyA . (a) E'r m. l^d m\ gr yAd aAyA Er vA = doorkeeper of paradise. kcA = a narrow street/lane.

aAdmF ko BF my-sr nhF\ i sA honA . EnfAt (or nfAt ) = enthusiasm/happiness. ts&vr = imagination . (b) EgEryA cAh { rAbF mr kAfAn kF h dr-ao-dFvAr s Vpk { byAbA honA h EgEryA = weeping. nO-bhAr-e-nA) = lover.AnA l )t-e-rFf-e-Ejgr *-e-nmkdA honA i t = joy/delight. byAbA = wilderness (c) vA-e-dFvAngF-e-fO*.(n) ik nO-bhAr-e-nA) ko tA* { E'r EngAh h chrA 'ro -e-my s gEl-tA Eky he . (o) E'r jF m\ { Ek dr p EksF k pw rh\ h sr )r-e-bAr-e-Em t-e-drbA Eky he . . ) m-e-tm A. kAfAnA = house. (a) bs Ek df^vAr { hr kAm kA aAsA honA h . Em t = supplicate (p) jF YxtA { E'r vohF 'st k rAt Edn h . uEryA = naked/bare (f) l gy Ak m\ hm dA -e-tm A-e-EnfAt t ho aOr aAp bA-sd-r\g-e-gEl-tA honA . pArA = fragment/piece. EmfgA = eyelid (e) i t-e-*(l-gh-e-'ehl-e-tm A mt pC Id-e-n)ArA { fmfFr kA uEryA honA h i t = joy/delight. jOhr = skill/knowledge. bAr = burden/load. . rFf = wound. my-sr = possible . . {W rh\ ts&vr-e-jAnA Eky he b . sd-r\g = hundred colours (g) i t-e-pArA-e-Edl. )r = money/wealth. th yA = determined 33. .Jko aAp jAnA uDr aOr aAp hF { rA honA h (d) jSvA a)-bs kF t*A)A-e-EngAh krtA { h jOhr-e-aAinA BF cAh { EmfgA honA h a) = from/then/by. . (q) \ AElb" hm\ n Cw Ek E'r jof-e-a * s {W {\ hm th yA-e-t'A Eky he b h . nmkdA = container to keep salt * = drown/sink. d Ar = di cult. fmfFr = sword. l )t = taste. k hr dm m. 'ro = light/bright .

Esf-e-jrAht-e-Edl ko clA { i * h sAmAn-e-sd-h)Ar nmkdA Eky he .(c) E'r v)'aA-e-'ehEtyAt s zkn lgA { dm h brso\ he {\ cAk EgrbA Eky he . frr-bAr = raining sparks of re. here it means temple (i) E'r fO* kr rhA { rFdAr kF tlb h a)-e-mt'aA-e-'a l-ao-Edl-ao-jA Eky he . lb-e-bAm = the corner of a terrace. smn-kdA = house of jasmine owers. u vA = title/preface (l) mAg { E'r EksF ko lb-e-bAm pr hvs h )S'-e-EsyAh z p prfA Eky he . AmA = pen. . . Ep dAr = pride/arrogance. EgrbA = collar (d) E'r gm-nAlA hAy frr-bAr { n's h m t hI { sr-e-EcrA A Eky he .yAl kA sAmA Eky he . mlAmt = rebuke/blame. nAmA-e-EdldAr = love letter. sd = hundred. n's = breath (e) E'r p. hm-Edgr = mutual/in between.*AEbl m\ aAr) srm s t) df^nA-e-EmfgA Eky he . . EmfgA = eyelid. pEsf = enquiry. v)'aA = conduct/behaviour. h n)ArA-ao. tlb = search. h . m*AEbl = confronting. d nA = dagger.n-e-Edl h sA)-e-cmn-trA)F-e-dAmA Eky he . 'ehEtyAt = care. mt'aA = valuables (j) dOw { E'r hrk gl-ao-lAlA pr yAl h . sA) = disposition. sAmA = confront (h) Edl E'r tvA'-e-k-e-mlAmt ko jAe { h Ep dAr kA smn-kdA vFrA Eky he . trA)F = consenting (g) bA-hm-Edgr he {\ Edl-ao-dFdA E'r r*Fb . (k) E'r cAhtA h nAmA-e-EdldAr KolnA jA n -e-Edl-'rbF-e-u vA Eky he . cAk = torn. jrAht (or EjrAht ) = surgery. . h { . tvA' = circuit. . k = lane/street. sd-gl-EstA EngAh kA sAmA Eky he . EmfgA = eyelids . nmkdA = container to keep salt (f) E'r Br rhA { AmA-e-EmfgA bA. EsyAh = black/dark (m) cAh E'r EksF ko m.

jof-e-*dAh s b m EcrA A Eky he . jA-EstA = distroying life. blhvs = slave of passions/very greedy. {r ko aA)mAy ?yo\ ? h h-n-)n = favourable view.(b) { r nhF\. v)'aA = behaviour (h) hA vo nhF\ . nAvk-e-nA) b-pnAh trA hF a?s-e-z shF. kFEjy hAy-hAy ?yo\ ? -tA = sick/injured. rhg)r = path/way d ^ . jAao vo b-v'A shF Ejsko ho dFn-ao-Edl 'a)F). b d-e. i)A')-ao-nA) = respect and beauty. . . EhjAb = veil/modesty. aA-tA nhF\ d {W {\ rhg)r p hm. {r hm\ uWAy ?yo\ ? b h ^ .-tA k b{r kOn s kAm b d {\ ? h roiy )Ar-)Ar ?yA. hrm nhF\. )Ar-)Ar = bitterly 32. uskF glF m\ jAy ?yo\ ? pr-t = worshipper. b m m\ vo blAy ?yo\ ? . . !r-e-i)A')-ao-nA) yA y EhjAb-e-pAs-e-v)'aA rAh m\ hm Eml khA. srt-e-mhr-e-nFm-ro) aAp hF ho n)ArA-so). mhr = sun. pAs = regard.m = concealed/hidden sorrows. jmAl = beauty. apn p 'etmAd { . . nAvk = a kind of arrow. t hI { yAr ko mhmA Eky he .m a-l m\ dono ek {\ * h mOt s phl aAdmF m s njAt pAy ?yo\ ? hyAt = life. !r = pride. M)A = amorous glance. aA-tA = abode. njAt = release/liberation (f) h-n aOr usp h-n-)n rh gyF blhvs kF fm . dA-pr-t. (g) vA vo . l t = piece. . sAmn tr aAy ?yo\ ? d nA = dagger. . dr nhF\. 'ro) = shining/luminous. 'etmAd = reliance/dependance . (a) m. h . nFm-ro) = mid day.M)A jA-EstA. dFn = religion/faith (i) \ AElb"-e. a?s = image (e) { d-e-hyAt-ao-b d-e. pd m\ mh CpAy ?yo\ ? . *dAh = goblet (b) krtA h jm'aA E'r Ejgr-e-l t-l t ko asA haA { dAvt-e-EmfgA Eky he h . { r = temple. hrm = mosque. (c) jb vo jmAl-e-Edl-'ro). dr = gate. n)ArA-so) = beautiful/worth seeing (d) d nA-e. EmfgA = eyelid .

Jko nhF\. trF fohrt hF shF vhft = solitude. (a) i * m. (c) mr hon m\ { ?yA z-vAI ? h 'e vo mjEls nhF\ lvt hF shF mjEls = assembly. hsrt = desire 31. \asd" gr nhF v-l to hsrt hF shF v-l = meeting. E rAm = manner of walking (g) hm koI t*-e-v'A krt {\ h n shF i *. *t'aA = break/intercept. aAghF gr nhF\ lt hF shF h-tF = existence. aAh-ao-'EryAd kF z st hF shF 'lk = sky (i) hm BF t-lFm kF XAl\g b-EnyA)F trF 'aAdt hF shF t-lFm = greeting/saluting. vhft hF shF mrF vhft. aAghF = knowledge/information.30. fohrt = fame (b) *t'aA kFj n t'aSl* hm s . = habit. b* = lightning. (f) 'um hrc d k { b*-e-E rAm } h Edl k krn kF 'st hF shF . 'adAvt = hatred/animosity . lvt = isolation (d) hm BF d mn to nhF\ {\ apn h . msFbt hF shF . kC nhF\ { to 'adAvt hF shF h . t'aSl* = relation/connection. b-EnyA)F = independence (j) yAr s CwA clF jAe. jo kC ho ! . E t = brick lt = negligence . {r ko tJ s mohNbt hF shF . (e) apnF h-tF hF s ho. koI hm\ stAy ?yo\ ? s\g = stone. (a) Edl hF to { n s\g-ao-E t dd s Br n aAy ?yo\ ? h roy\g hm h)Ar bAr. t* = relinquishment (h) kC to d 'e 'lk-e-nA-i sA' .

to blAy n bn .?tAcF\ { m-e-Edl usko snAy n bn h . (c) Kl smJA { khF\ Cow n d. Ek bnAy n bn h (i) i * pr )or nhF\.(f) ?yo\ n cF Ek yAd krt {\ h mrF aAvA) gr nhF\ aAtF (g) dA -e-Edl gr n)r nhF\ aAtA b BF 'e cArAgr ! nhF\ aAtF cArAgr = healer/doctor (h) hm vhA {\ jhA s hmko BF h kC hmArF br nhF\ aAtF . ?yA bn bAt jhA bAt bnAy n bn n?tAcF\ = critic/sweetheart . Bl n jAy h kAf ! y BF ho Ek Ebn mr stAy n bn (d) {r E'rtA { Ely y tr t ko Ek agr h koI pC Ek y ?yA { ? to ECpAy n bn h (e) is n)Akt kA b. (h) boJ vo sr p EgrA { Ek uWAy n uW h kAm vo aAn pwA { . aAEtf = re . (b) m\ b. { y vo aAEtf \ AElb" h Ek lgAy n lg aOr bJAy n bn .h s jAaog \ AElb" fm tmko mgr nhF\ aAtF . vo Bl {\ to ?yA h hAT aAy to u h\ hAT lgAy n bn n)Akt = elegance (f) kh sk kOn Ek y jSvA-grF EkskF { h pdA CowA { vo usn Ek uWAy n bn h jSvA-grF = manifestation (g) mOt kF rAh n dK Ek Ebn aAy n rh tmko cAh Ek n aAao.rA ho. (i) mrt {\ aAr) m\ mrn kF h mOt aAtF { pr nhF\ aAtF h (j) kAb'aA Eks m.lAtA to h usko mgr 'e j bA-e-Edl { usp bn jAy kC 'esF Ek Ebn aAy n bn . 29. (a) n. .

rvA n haA . rvA = agree/admissible (j) kC to pExy Ek log kht {\ h . Edl-EstA = lover. 28. (h) ) m gr db gyA. here it refers to groceries (f) ?yA vo nAm!d kF .(c) hm khA E*-mt aA)mAn jAy\ ? t hF jb jr aA)mA n haA . rvA = right/lawful (i) rh)nF { Ek Edl-EstAnF { ? h h lk Edl. vnA ?yA bAt kr nhF\ aAtF ? tA'at = devotion. dAI TF b dgF m\ trA BlA n haA . (e) { kC 'esF hF bAt jo c. 'aAj \ AElb" )lsrA n haA' . Edl-EstA rvA n haA . nm!d = an old king who used to say that he was God (g) jAn dF. lh n TmA kAm gr zk gyA.p h h . dF hI usF Ek TF . boEryA = mat. ?yo\ rAt Br nhF\ aAtF ? m'a yn = de nite . h* to y { k h* adA n haA h . (a) koI koI (b) mOt nF\d uMmFd br nhF\ aAtF srt n)r nhF\ aAtF kA ek Edn m'a yn { h . )hd = religious deeds or duties . (c) aAg aAtF TF hAl-e-Edl p h\sF ab EksF bAt pr nhF\ aAtF (d) jAntA h svAb-e-tA'at-ao-)hd pr tbFyt iDr nhF\ aAtF svAb = reward of good deeds in next life. fFrF\ = sweet (e) { br gm unk aAn kF h aAj hF Gr m\ boEryA n haA ! . (d) Ektn fFrF\ {\ tr lb ! Ek r*Fb h gAElyA KAk b-m)A n haA .

'ahl = people. dF m\ Bl gyA rAh-e-k-e-yAr jAtA vnA ek Edn apnF br ko m\ { b. . . brA n haA { .t = idol/lover. 'a * = fool/idiot. aAlF-ghr = belonging to a high caste or a rich family . bdAdgr = cruel p)Fr = receiving.. sm d = horse. mt'aA = wealth. Em t-kf-e-dvA = obliged to medicine (b) jm'aA krt ho ?yo\ r*Fbo\ kA ? ik tmAfA haA EglA n haA . dhr = period/era. 27. r*Fb = opponent. E*yAs = supposition. rhg)r = road/path . k-e-yAr = lover's street (i) apn p kr rhA h E*yAs 'ahl-e-dhr kA smJA h Edl-p)Fr mt'aA-e-hnr ko m\ { . EglA = complaint . (h) E'r b. . dA kr Ek svAr-e-sm d-e-nA) dK 'alF-bhAdr-e-aAlF-ghr ko m\ { . (f) cltA h TowF dr hr ik t) rO k sAT phcAntA nhF\ h aBF rAhbr ko m\ { rO = currents. rAhbr = guide (g) vAEhf ko 'ahM*o\ n prE-tf EdyA *rAr ?yA pjtA h us bt-e-bdAdgr ko m\ ? { . (e) lo vo BF kht {\ Ek y b-n\g-ao-nAm { h h y agr to lVAtA n Gr ko m\ { . m\ n aQCA haA.. . (a) dd Em t-kf-e-dvA n haA . svAr = ride. (j) \ AElb" . r*Fb = opponent. prE-tf = worship. hnr = skill . (d) { ?yA jo ks k bAEDy mrF blA dr'e h ?yA nhF\ h tMhArF kmr ko m\ ? { .(b) CowA n r k n Ek tr Gr kA nAm l ? hr ek s pCtA h Ek jAU EkDr ko m\ ? { r k = jealousy (c) jAnA pwA r*Fb k dr pr h)Ar bAr 'e kAf n trF rhg)r ko m\ { . dF = rapture. b.

lgn = a basin bAdA. klAm = writing/speech. E'gAr = wounded . 25.l bhAr m\ yA tk Ek hr tr' h uXt he ulJt {\ m -e-cmn k pAv h . d t-e-n&dF = to roam around in wilderness. msAil = topics. d mr a dr *'n k pAv h )O* = taste. m = bird . pF)n = old woman h (c) BAg T hm bht sF uskF s)A { y h . d-bA.vAr = boozer (b) dF sAdgF s jAn pw kohkn k pAv { hAt ! ?yo\ n VV h gy pF)n k pAv kohkn = a mountain digger. { hAt = alas !. bt = idol/beloved . . hokr asFr dAbt {\ rAh)n k pAv h asFr = prisoner. tJ hm vlF smJt. 26. (a) { rA h Edl ko ro'U Ek pFV Ejgr ko m\ ? h { m dr h to sAT rK nOhAgr ko m\ { m dr = capable. . nOhAgr = mourner/lamenter mg = death . (a) DotA h jb m\ pFn ko us sFm-tn k pAv { rKtA { E)d s KF\c k bAhr lgn k pAv h sFm-tn = silver bodied.. (g) fb ko EksF k vAb m\ aAyA n ho khF\ dKt {\ aAj us bt-e-nA)k-bdn k pAv h . ts&v' = mysticism. srO-e-fFrF\-s n k pAv . jo n bAdA. (h) \ AElb" mr klAm m\ ?yo\kr m)A n ho ? pFtA h Dok . rAh)n = robber (d) mhm Ek j. (f) { jof-e-g.(k) y msAil-e-ts&v'. . fFrF\ = sweet. vlF = prince/friend. . . O-e-fFrF\-s n = this is pointed at Badshah Zafar . (e) aSlAh r )O*-e-d t-e-n&dF Ek bAd-e-mg Ehlt {\ .-tj m\ EGrA h jo dr-dr tn s EsvA E'gAr { is -tA-tn k pAv h j-tj = desire.vAr hotA . y trA byA \ AElb" ! . s n = speech/words. .

kF s jAnA Ek b DA TA 'ehd-bdA kBF t n tow sktA agr U-tvAr hotA . y?tA = matchless/incomparable. (a) y n TF hmArF E*-mt k EvsAl-e-yAr hotA agr aOr jFt rht yhF i t)Ar hotA EvsAl-e-yAr = meeting with lover (b) tr vAd pr Ejy hm to y jAn JV jAnA k . dI = duality . mEhl ho gy *v'aA \ AElb" . 'ehd = oath. U-t.(h) m. mgsAr = sympathizer . . *v'aA = limbs. n khF\ m)Ar hotA * = drown/sink (j) us kOn dK sktA Ek ygAnA { vo yktA h jo dI Ek b BF hotF to khF\ do cAr hotA ygAnA = kinsman. . y agr frAr hotA rg = nerve. nAsh = councellor. koI mgsAr hotA .vAr = rm/determined (d) koI mr Edl s pC tr tFr-e-nFmkf ko y Elf khA s hotF jo Ejgr k pAr hotA tFr-e-nFmkf = half drawn arrow. Elf = pain (e) y khA Ek do-tF { k bn {\ do-t nAsh h h koI cArsA) hotA. . p khA bc\ k Edl { h h m-e-i * gr n hotA. (f) rg-e-s\g s VpktA vo lh Ek E'r n TmtA Ejs m smJ rh ho. . fF s mr n jAt agr 'etbAr hotA 'etbAr = trust/con dence (c) trF nA). cArsA) = healer. s\g = stone. frAr = ash/gleam (g) m agc jA-g. vo anAEsr m\ 'e(dAl khA ? m mEhl = exhausted/idle. anAEsr = elements.Els { . mJ ?yA brA TA mrnA ? agr ek bAr hotA . 'e(dAl = moderation 24. (h) kh Eks s m\ k ?yA { . fb-e. m-e-ro)gAr hotA jA-gEls = life threatning . n kBF jnA)A uWtA. he ?yo\ n *-e-dEryA .m brF blA { { h h . (i) he mr k hm jo z-vA.

rAnAi-e. Egrh m\ mAl khA ? { *mAr-KAnA = casino. cAk = slit/torn (e) pC { ?yA v. jmAl = beauty (c) Edl to Edl vo EdmA BF n rhA for-e-sOdA-e. )O*-e-n)ArA-e-jmAl khA ? )O* = delight/joy.(d) khtA { kOn nAlA-e-b. sAl = year (b) 'st-e-kArobAr-e-fO* Eks ? .AfAk = destroyed . m\ khA aOr y vbAl khA ? { vbAl = calamity . Ak = dust/ashes .l ko b-asr h pd m\ gl k lAK Ejgr cAk ho gy .yAl = tender thoughts . (g) is Y\g s uWAyF kl usn \asd" kF lAf d mn BF Ejsko dKk mnAk ho gy . adm = non existence.yAl khA ? ts&vr = imagination.lb. ab vo rAnAi-e. mAh = month. (a) vo E'rA* aOr vo EvsAl khA ? vo fb-ao-ro)-ao-mAh-ao-sAl khA ? E'rA* = separation. fb = night.AnA-e-i * vA jo jv\.jd-ao-adm 'ehl-e-fO* kA h aAp apnF aAg s s-ao. (e) 'esA aAsA nhF\ lh ronA Edl m\ tA*t Ejgr m\ hAl khA ? hAl = spiritual ecstasy (f) hms CVA *mAr. mnAk = grief stricken 23. ro) = day. EglA = complaint. Ek ek hF EngAh Ek bs Ak ho gy t A'l = negligence. s-ao. Egrh = knot/joint (g) E' -e-dEnyA m\ sr KpAtA h . EvsAl = meeting.AfAk ho gy vjd = existence.-ao.Al khA ? (d) TF vo ik f s k ts&vr s . (f) krn gy T uss t A'l kA hm EglA .

T y hF do EhsAb. so yo\ pAk ho gy s' = expenditure. jA-EspArF = resigning one's life into the hands of another (h) E'r usF bv'A p mrt {\ h E'r vohF E) dgF hmArF { h (i) E'r K. dF b-sbb nhF\ \ AElb" kC to { EjskF pdAdArF { h h . pdAdArF = to hide. h a *-bArF kA h?m-)ArF { h . esp. bhA = value/price. fault 22. b. . b-sbb = without any reason. (a) ron s aOr i * m\ b-bAk ho gy Doy gy hm 'es Ek bs pAk ho gy b-bAk = outspoken/bold. bAr = at last aAlAt = instruments/apparatus. !b-*ArF = to put the mind into work (n) b.. a *-bArF = lamentation (m) Edl-ao-EmfgA kA jo m*dmA TA . mykfF = boozing (c) z-vA-e-dhr go he aAvArgF s t.(g) jSvA E'r a)-e-nA) krtA { h ro)-e-bA)Ar-e-jA-EspArF { h jSvA = splendour.m . sEr tA-dArF = a regulator's position (k) E'r EkyA pArA-e-Ejgr n svAl ek 'EryAd-ao-aAh-ao-)ArF { h pArA = fragment (l) E'r he {\ gvAh-e-i * tlb . 'Oj-dArF = military court (j) ho rhA { jhAn m\ a\Dr h )S' kF E'r sEr tA-dArF { h . my = bar. dF = rapture.. tlb = search/desire/request.lA { dr-e-adAlt-e-nA) h gm bA)Ar-e-'Oj-dArF { h dr = abode. aAj E'r uskF !b-*ArF { h EmfgA = eyelids. pAk = pure/clean/holy (b) s'-e-bhA-e-my he aAlAt-e-mykfF . bAr tbFyto\ k to cAlAk ho gy dhr = world.

(n) hm-pfA-ao-hm-mfb-ao-hm-rA) { mrA h \ AElb" ko brA ?yo kho aQCA mr aAg ! \ . ) m-e-kArF = deep wound (b) E'r Ejgr Kodn lgA nA . . rhn do aBF sA r-ao-mFnA mr aAg jEMbf = movement/vibration. n aAmd-e-'-l-e-lAlA-*ArF { h aAmd = arrival. (m) go hAT ko jEMbf nhF\ aAho\ m\ to dm { h . sA r-ao-mFnA = goblet . (a) E'r kC is Edl ko b*rArF { h . = blood .. . kAf. hm-mfb = of the same habits/a fellow boozer. 'amArF = rider's seat with a canopy on an elephant or camel (d) c m-e-dSlAl-e-Ej s-e-z-vAI Edl rFdAr-e-)O*-e. hm-rA) = con dant 21. mhfr = the last day/\ mhfEr-tAn = place of the last day sd-gnA = hundred times. hm-pfA = of the same profession. )O* = taste (e) vohF sd-r\g nAlA 'sAyF vohF sd-gnA a *-bArF { h sd = hundred.vArF { h c m = eye. *S)m = sea. nAlA 'sAyF = lamenter. '-l = season/harvest (c) E*NlA-e-m sd-e-EngAh-e-EnyA) E'r vhF pdA-e-'amArF { h EnyA) = desire. aAtA { aBF dEKy ?yA-?yA mr aAg h mOj-)n = exciting. . a *-bArF = lamentation *yAmt kA Edn ". (f) Edl hvA-e-E rAm-e-nA) s E'r mhfEr-tAn-e-b*rArF { h E rAm = speed. f hot {\ pr v-l m\ yo\ mr nhF\ jAt h aAyF fb-e-EhjrA Ek tm A mr aAg Eh = separation (l) { mOj-)n ik *S)m-e. yhF ho h . Ej s = things/items. sFnA )oyA-e-) m-e-kArF { h )oyA = searcher.(k) .

. vnA . . shrA = desert.(c) )hr EmltA hF nhF\ mJko Estmgr. . jbF\ = forehead (e) mt pC k ?yA hAl { mrA tr pFC ? h t dK k ?yA r\g { trA mr aAg h (f) sc kht ho. red wine . bt = beloved. k KA BF n sk h Estmgr = oppressor 20. (j) aAEf* h. p mAf*-'rbF { mrA kAm h mjn ko brA khtF { l mr aAg h {lA .)rA h { . g tAr = speech/discourse. ?yo\ kr kh. (d) hotA { EnhA gd m\ shrA mr hot h EGstA { jbF\ Ak p dEryA mr aAg h EnhA = hidden. aAinA-sFmA = like the face of a mirror (g) E'r dEKy a dA)-e-gl-a fAEn-e-g. aEfyA = things/items . a('Al = children (b) ik Kl { aOr\g-e-slmA mr n)dFk h . j) vhm nhF\ h-tF-e-aEfyA mr aAg . . . . d-aArA = self adorer. shbA = wine. (a) bA)FcA-e-a('Al { dEnyA mr aAg h . esp. 'rbF = a fraud/cheat . tAr . 'ejA) = miracle (c) j. (h) n'rt kA gmA g)r { . . . klFsA = church/cathedral . j) = other than. k'abA mr pFC { klFsA mr aAg h k = impiety. dbFn = proud/arrogant. ik bAt { 'ejA)-e-msFhA mr aAg h aOr\g = throne. r k = envy . d-aArA n ?yo\ h ? {WA { bt-e-aAinA-sFmA mr aAg b h . hotA { fb-ao-ro) tmAfA mr aAg h bA)FcA = play/sport. ?yA *sm { tr Emln kF.J k h h . (i) imA mJ rok { jo KF\c { m. gd = dust. m\ r k s g. h-tF = existence. dbFn-ao. rK d koI {mAnA-ao-shbA mr aAg p gl-a fAnF = to scatter owers.) nAm nhF\ srt-e-aAlm mJ m\)r . lo nAm n uskA mr aAg gmA = doubt. aAlm = world.

mg = death. tAnA = taunt. njm = stars. (e) ptv-e-K. sd-kAm-e-nh\g = crocodile with a hundred jaws. (b) dAm hr mOj m\ { hS*A-e-sd-kAm-e-nh\g h dK\ ?yA g)r { */ p ghr hon tk h . ghr = pearl . mOj = wave. frr = ash/ re (g) m-e-h-tF kA \asd" Eks's ho j. tlb = search } (d) hm n mAnA k t A'l n krog. sd = hundred. nh\g = crocodile.r s { fbnm ko 'n'aA kF tAlFm h m\ BF h ik inAyt kF n)r hon tk { ptv-e-Kr = sun's re ection/light/image. fbnm = dew.) mg ilA) fMm'aA hr r\g m\ jltF { shr hon tk h h-tF = life/existence. shr = morning .lA lo mJ cAho Ejs v t . (a) aAh ko cAEhy ik 'um asr hon tk } kOn jFtA { trF )S' k sr hon tk ? h . (a) mhrbA hok b. vo blA-e-aA-mAnF aOr { h *AtA-e-'amAr = killers. )O' = weakness. nAghAnF = sudden/accidental 18. (c) aAEf*F sb tlb aOr tm A btAb } Edl kA ?yA r\g k! n-e-Ejgr hon tk ? sb = patience. r s = dance. inAyt = favour . AE'l = careless. t A'l = neglect/ignore . mg = death. blA-e-aA-mAnF = natural calamity . j) = other than. 'st-e-h-tF = duration of life. m\ gyA v t nhF\ h k E'r aA BF n sk { (b) )O' m\ tAnA-e-a yAr kA EfkvA ?yA { ? h bAt kC sr to nhF\ { k uWA BF n sk h . gmF-e-b m { ik r s-e-frr hon tk h bf = too much/lots. dAm = net/trap. lEkn .(e) *AtA-e-'amAr { a?sr njm h . (f) yk-n)r bf nhF\ 'st-e-h-tF AE'l . Ak ho jAy\g hm tmko br hon tk . EfkvA = complaint . (f) ho c. 'n'aA = mortality. . . 19.kF\ \ AElb" blAy\ sb tmAm ek mg-e-nAghAnF aOr { h blAy\ = calamities. hS*A = ring/circle. a yAr = enemy.

dA k vA-t pdA n kAb s uWA )AElm khF\ 'esA n ho yA BF vohF kAE'r snm Enkl (k) khA m An kA drvA)A \ AElb" aOr khA vAi) { pr itnA jAnt {\ kl vo jAtA TA k hm Enkl h vAi) = preacher/advisor 16. t' = golden belt. nAmAbr = messenger (b) vo aAy Gr m\ hmAr . kBF apn Gr ko dKt {\ h (c) n)r lg n khF\ usk d-t-ao-bA) ko y log ?yo\ mr ) m-e-Ejgr ko dKt\ {\ ? h d-t-ao-bA) = hands & shoulders (d) tr jvAEhr-e-t'-e-klh ko ?yA dK\ ? . aOj = height/position. EnhAnF = internal/hidden (c) bArhA dKF {\ unkF rE jf\ h pr kC ab k sr-EgrAnF aOr { h . hm aOj-e-tAl'aA-e-lAl-ao-ghr ko dKt {\ h . . kBF hm unko. nAmAbr = messenger tAl'aA = luck. dA kF kdrt { h . 17. dr = door.(h) mohNbt m\ nhF\ { '* jFn aOr mrn kA h usF ko dK kr jFt {\ Ejs kAE'r p dm Enkl h (i) )rA kr jor sFn pr Ek tFr-e-prEstm Enkl . (a) y jo hm Eh m\ dFvAr-ao-dr ko dKt {\ h kBF sbA ko kBF nAmAbr ko dKt {\ h Eh = separation. jo Edl Enkl to dm Enkl (j) . sbA = wind. .m hAy EnhAnF aOr { h do) = hell. klh = crown. jvAEhr = jewels. sr-EgrAnF = pride (d) dk t m.h dKtA { nAmAbr h kC to { Am-e-)bAnF aOr { p h . jo vo Enkl to Edl Enkl. (a) koI Edn gr E) dgAnF aOr { h apn jF m\ hmn WAnF aOr { h (b) aAEtf-e-do) m\ y gmF khA so)-e. so) = passion/heat. lAl-ao-ghr = diamonds & pearls .

jo c m-e-tr s 'um Br y dm-bA-dm Enkl } = blood. l^d s aAdm kA snt aAy {\ lEkn h . . n hotA m\ to ?yA hotA ? { . . dAd = justice. bohot b-aAb! hokr tr kc s hm Enkl .m kA pc-ao. *Amt = stature. -tA = broken/sick/injured. dm-bA-dm = continously (c) EnklnA . bEhs = shocked/stunned. vo hr ek bAt p khnA. kC n hotA to . (a) h)Aro\ vAEhf\ 'esF k hr vAEhf p dm Enkl bohot Enkl mr armA lEkn E'r BF km Enkl (b) Xr ?y mrA *AEtl ?yA rhgA uskF gdn pr vo . . t = sword. Estm = cruelity . (f) hI is dOr m\ mnsb mJs bAdA-aAfAmF . l^d = heaven. XboyA mJko hon n. (b) haA jb m s y bEhs to m ?yA sr k kVn kA . kcA = street (d) Brm K. . -tgF = weakness. to hms ElKvAy hI sbh aOr Gr s kAn pr rKkr *lm Enkl .m Enkl . t k \ AElb" mr gyA pr yAd aAtA { h . vo hms BF E)yAdA -tA-e-t -e-Estm Enkl tv *o = expectation. E'r aAyA vo )mAnA. dA TA.(h) bdAd-e-i * s nhF\ XrtA mgr \asd" Ejs Edl p nA) TA mJ vo Edl nhF\ rhA .m = curls in the hair/complexity (e) mgr ElKvAy koI usko t. 15. tr = wet. c m = eye. . drA)F = length/delay. . dA hotA . trA = an ornamental tassel worn in the turban. (a) n TA kC to . bAdA-aAfAmF = association with drinking (g) hI Ejns tv *o -tgF kF dAd pAn kF . )An = knee (c) hI m. k y hotA to ?yA hotA ? m t = duration/period . bdAd = injustice 14. n hotA gr jdA tn s to )An pr DrA hotA . pc-ao.l jAy )AElm tr *Amt kF drA)F kA agr is trA-e-pr-pc-ao. jo jhA s jAm-e-jm Enkl mnsb = association. b-aAbz = disgrace.

Ejht = direction. iEMtaA) = distinction. r-e-mhE'l nhF\ rhA . tdbFr = solution/remedy. esp. nAEks = cunning. jo trF b m s EnklA. d Ar = di cult . a fA = rattle (c) b-e-gl. so t'A EnklA EgEryA = weeping. *AEml = intelligent (e) vA kr Edy {\ fO* n b d-e-n*Ab-e-h-n h . (c) mrn kF 'e Edl aOr hF tdbFr kr Ek m\ { fAyAn-e-d-t-ao-bA)-e-*AEtl nhF\ rhA . (a) 'a)-e-EnyA)-e-i * k *AEbl nhF\ rhA Ejs Edl p nA) TA mJ vo Edl nhF\ rhA . sFnA-e-EbE-ml = wounded heart. d . so pErfA EnklA b = fragrance. hAyl = obstacle (f) go m\ rhA. nAlA = cry. (e) Edl m\ E'r EgEryA n ik for uWAyA \ AElb" aAh jo */A n EnklA TA. */A = drop 13. bA) = shoulder (d) br!-e-ff Ejht dr-e-aAinA-bA) { h yA iEMtaA)-e-nAEks-ao-*AEml nhF\ rhA br! = in front. h fMm'aA-k tA d . AE'l = unaware/careless (g) Edl s hvA-e-Ek t-e-v'A EmV gyF Ek vA hAEsl EsvAy hsrt-e-hAEsl nhF\ rhA . pr = wings. nO-aAmo) = beginner. gl = ower.(b) ) m n dAd n dF. t\gF-e-Edl Ek yArb ! tFr BF sFnA-e-EbE-ml s pr-a fA EnklA dAd = justice. fAyAn = worthy. fMm'aA-k tA = extinguished lamp. EnyA) = desire/an o ering (b) jAtA h dA -e-hsrt-e-h-tF Ely he . from a lamp that's been extinguished . rhF n Estm hAy ro)gAr { lEkn tr yAl s AE'l nhF\ rhA Estm = oppression. {r-a) EngAh ab koI hAyl nhF\ rhA vA = open. nAlA-e-Edl. r = worthy . {r-a) = other than. s t mE kl { Ek yh kAm BF aAsA EnklA h . d-t = hand. (d) TF nO-aAmo)-'n'aA EhMmt-e-d Ar-ps d . dd-e-crA -e-mhE'l . h-tF = life/existence. ff = six. dd = smoke.

J tA*t-e-s n h . bAdA = wine . . vl g. fF s mr hAT pAv Pl gy khA jo usn )rA mr pAv dAb to d 11. d nA = dagger (g) hr c d ho mfAEht-e-h* Ek g tg .(d) EplA d aoak s sA*F jo hms n'rt { h =yAlA gr nhF\ dtA n d. sr-ao-sAmA = with belongings. tg m\ kAm h cltA nhF\ { . d nA-ao. jb rhF n m. { s = 'mjn' * .M)A. uEryA = nude . n rh\ pr kh b{r (e) CowgA m\ n us b. (a) fO* hr r\g r*Fb-e-sr-ao-sAmA EnklA { s t-vFr k pd m\ BF uEryA EnklA * r*Fb = opponent. (c) kAm us's aA pwA { Ek EjskA jhAn m\ h lv n koI nAm 'Estmgr' kh b{r Estmgr = oppressor (d) jF m\ hF kC nhF\ { hmAr. m*rr = again . . (h) bhrA h m\ to cAEhy dnA ho iSt'At { sntA nhF\ h bAt m*rr kh b{r . (i) \ AElb" n kr h)r m\ t bAr-bAr 'a) . (a) Gr jb bnA ElyA { tr dr pr kh b{r h jAngA ab BF t n mrA Gr kh b{r (b) kht {\. S* = world . sr jAy yA rh. frAb to d aoak = palm of the hand contracted so as to hold water (e) \asd" . bntF nhF\ { bAdA-ao-sA r kh b{r h mfAEht = God. vnA hm h . (f) m sd { nA)-ao. jAn\ EksF k Edl Ek m\ ?yo\kr kh b{r { tA*t-e-s n = strength to speak . iSt'At = mercy. )AEhr { trA hAl sb un pr kh b{r h 12.\jr kh b{r h M)A = amorous glance.t-e-kAE'r kA pjnA { Cow n S* go mJ kAE'r kh b{r . bt = idol/lover.

t = sword. hvA ?yA { ? } h h ab = clouds } (h) hmko uns v'A Ek { uMmFd h jo nhF\ jAnt v'A ?yA { h (i) \hA BlA kr trA BlA hogA" aOr dvf kF sdA ?yA { ? h dvf = beggar. iE trAb = anxiety.(c) m\ BF mh m\ )bAn rKtA h { . (d) jb Ek t. jEMbf = motion/vibration. sdA = voice (j) jAn tm pr EnsAr krtA h . aMbrF = fragrance. 'e . (f) Efkn-e-). . m\ nhF\ jAntA daA ?yA { { h . (g) sNjA-ao-g.J Ebn nhF\ koI mOjd E'r y h gAmA. m)Al-e. i A = coquetry c m = eye m)Al = strength . to mh s khF\ jvAb to d . (k) m\n mAnA Ek kC nhF\ \ AElb" { .l khA s aAy {\ ? h ab ?yA cF) { . kAf ! pCo Ek \m A ?yA { " ? h . (a) vo aAk vAb m\ t-kFn-e-iE trAb to d vl mJ tEpf-e-Edl.EMbf-e-lb hF tmAm kr hmko n d jo bosA. dA ! ?yA { h (e) y prF chrA log { s {\ ? k h M)A-ao-i A-ao-'adA ?yA { ? h prF chrA = angel faced.vAb to d . t-kFn = satisfaction. aAb = cool (c) EdKAk j. (b) kr { *(l lgAvt m\ trA ro dnA h trF trh koI t -e-EngAh ko aAb to d lgAvt = a ection. bosA = kiss . M)A = amorous glance. 10.S'-e-aMbrF ?yo\ { ? h EngAh-e-c m-e-smA sA ?yA { ? h Efkn = wrinkle/fold. tEpf = burn/passion. m t hAT aAy to brA ?yA { ? h .

fb-e-mAhtAb m\ } ^ ab = clouds. vo Edn gy Ek kht T . tA* aOr vo b)Ar h yA ilAhF ! y mAjrA ?yA { ? h m tA* = interested. . )r = gold. . loh-e-jhA p h'-e-m*rr nhF\ h m\ { . kAE'r nhF\ h m\ { . m*rr = again . . ro)-e-ab = cloudy day. ?yA aA-mAn k BF brAbr nhF\ h m\ ? { bosA = kiss (h) \ AElb" vE)'A. b)Ar = displeased/sick of . (a) dAym pwA haA tr dr pr nhF\ h m\ { . aAE r is dd kF dvA ?yA { h (b) hm {\ m.J haA ?yA { ? h .(m) \ AElb" CVF frAb. mhr = sun. do fAh ko daA . u*bt = pain (e) Eks vA-t 'a)F) nhF\ jAnt m. mAhtAb = moon } } ^ 8. h' = alphabet. z(b m\ mhr-ao-mAh s kmtr nhF\ h m\ { dr = regret/grief. mdAm = always . (f) rKt ho tm *dm mrF aAKo\ s ?yA dr . (a) Edl-e-nAdA t. pr ab BF kBF-kBF . lAl = a kind of gem. Ak 'esF E) dgF p k p(Tr nhF\ h m\ { dAym = always (b) ?y gEdf-e-m. (d) hd cAEhy s)A m\ u*bt k vA-t aAE r gnAhgAr h. gOhr = gem . =yAlA-ao-sA r nhF\ h m\ { gEdf = bad time/luck.dAm s GbrA n jAy Edl ? i sAn h.J ? lAl-ao-)mzd-ao-)r-ao-gOhr nhF\ h m\ { . )mzd = green colored gem. \nOkr nhF\ h m\" { vE)'A. pFtA h ro)-e-ab -ao.vAr ho.vAr = pensioner 9. mAh = moon (g) krt ho mJko mn'aA-e-*dm-bos Eks Ely ? . (c) yArb ! )mAnA mJko EmVAtA { Eks Ely ? h .

r*Fb = opponent. ik EbgAwnA itAb m\ itAb = anger (k) vo nAlA-Edl m\ s k brAbr jgh n pAy Ejs nAl s EfgA' pw aA tAb m\ nAlA-Edl = crying heart. ?y bd . mA ^ = suspicious. (h) my aOr h)')-e-v-l. rvA = move. bAb = company (g) m\ m tErb h v-l m\ O'-e-r*Fb s { . . O' = fear. iE trAb = anxiety aA tAb = sun/face sE'nA = boat. 'rb = illusion/fraud. . dA-sA) = god's gift. pc-ao-tAb = predicament bd . b m = meeting/ \mhE'l" . v-l = meeting with the lover. . (l) vo shr m A tSbF m\ n kAm aAy . sA*F = bar tender (f) jo mE kr-e-v'A ho 'rb us p ?yA cl ? . ik crAnA EngAh kA . lAKo\ bnAv. Efkn = wrinkle. (i) { tvrF cwF hI a dr n*Ab k h . h)')-e-v-l = joy of meeting.J tk kb unkF b m m\ aAtA TA dOr-e-jAm sA*F n kC EmlA n EdyA ho frAb m\ . EfgA' = crack. XAlA { tmko vhm n Eks pc-ao-tAb m\ h . m tErb = anxious/disturbed. srAb = mirage . { ik Efkn pwF hI t'-e-n*Ab m\ h . dA-sA) bAt { h jA n dnF Bl gyA iE trAb m\ my = bar. s = hay/grass. Ejs shr s sE'nA rvA ho srAb m\ shr = magic. 'ahd = promise (d) *AEsd k aAt-aAt t ik aOr ElK rK m\ jAntA h jo vo ElK\g jvAb m\ { *AEsd = messenger (e) m. mE kr-e-v'A = one who denies loyalty. . t' = eyelid (j) lAKo\ lgAv. m A tSbF = ful llment of a desire. . mA h do-t s d mn k bAb m\ ? ^ .(c) tA E'r n i t)Ar m\ nF\d aAy 'um Br } aAn kA 'ahd kr gy aAy jo vAb m\ tA = so that.

hvs-e-bAl-ao-pr gyF bAr = at last. . EfaAr = habit. E'rA* = separation.lhvs n h-n-pr-tF EfaAr kF . fF l )t-e-E'rA* h t?lF'-e-pdAdArF-e-) m-e-Ejgr gyF f* = crack/split. pdAdArF = to hide. vo vSvl khA. pA = leg. k-e-yAr = lover's street (e) dK to Edl-'rbF-e-a dA)-e-n f-e-pA mOj-e-E rAm-e-yAr BF ?yA gl ktr gyF . fvA = manner/habit (g) n)Ar n BF kAm EkyA vA n*Ab kA m-tF s hr EngAh tr z pr EbKr gyF (h) 'dA-ao-dF kA t'*A yk bAr EmV gyA kl tm gy k hm p *yAmt g)r gyF . vo jvAnF EkDr gyF ? vSvl = enthusiasm 7. fbAnA = night. fb = night. . (a) EmltF { -e-yAr s nAr iESthAb m\ h kAE'r h gr n EmltF ho rAht 'a)Ab m\ -e-yAr = lover's nature/behavior/habit. dF = tomorrow.6. . . 'dA = yesterday. n f = copy/print. t'*A = di erence (i) mArA )mAn n \asdSlAh A" tMh\ . esp. E rAm = speed (f) hr b. (a) Edl s trF EngAh Ejgr tk utr gyF dono\ ko ik adA m\ r)Am d kr gyF (b) f* ho gyA { sFnA. mOj = wave/enjoyment. ?yA btAU jhAn-e.rAb m\ ? fb hAy Eh ko BF rK gr EhsAb m\ jhAn-e. h-n-pr-tF = to appreciate beauty. Edl-'rb = heart alluring. 'a)Ab = sorrow (b) kb s h. Eh = separation . .vAb-e-shr gyF bAdA = wine. iESthAb = ame. aAb! = respect/honour.rAb = world of problems. nAr = re. shr = morning (d) uwtF E'r { Ak mrF k-e-yAr s h bAr ab 'e hvA. ab aAb!-e-fvA-e-'ehl-e-n)r gyF blhvs = greedy. fault (c) vo bAdA-e-fbAnA kF sr mE-tyA khA ? uEWy bs ab Ek l )t-e.

tlAnF = long. . h .aOr mrF dA-tn-e-i * t. aAEtf-dFdA = roasted on re. n bolA jAy { mJs h h . nAtvAnF = weakness ^ (e) sMBln d m. vo kAE'r. bd. *AEsd BF GbrA jAy { mJs h . (a) kBF nkF BF usk jF m\ gr aA jAy { mJs h .lAnF ibArt m tsr. tAsFr = impression (c) vo bd.. jo .' btr' n)ArgF m\ BF shF. )r-e-pA = under the feet. . (f) tkSl. dAyA ! j bA-e-Edl kF mgr tAsFr uSVF { h Ek EjtnA KF\ctA h aOr EK\ctA jAy { mJs h . btr' = suspend . *AEsd = messenger . . h n BAgA jAy { mJs. dA ko BF n sO\pA jAy { mJs h . . m 'aA 'an*A { apn aAlm-e-t*rFr kA h . fnFd = conversation.J 'e nA-uMmFdF ?yA *yAmt { h Ek dAmn-e. dAm = net/trap. kb y )Sm dKA jAy { mJs h . nbd-e-if* = struggle in love (h) *yAmt { k hov m I kA hm-s'r \ AElb" h . m tsr = concise.(d) aAghF dAm-e-fnFdn Ejs *dr cAh EbCAy . lEkn vo dKA jAy. mAnF { . j'Ay\ krk apnF yAd fmA jAy { mJs h . 'an*A = rare. iDr y nAtvAnF { h h n pCA jAy { us's. n WhrA jAy { mJs h .= bad habits. aAghF = knowledge/intution. ibArt = diction/ admonishing. . j bA-e-Edl = emotions. aAlm = world/universe. (d) uDr vo bd. m = hair. t*Sl' = hesitation/formality.yAl-e-yAr CVA jAy { mJs h . bd . mAnF = suspicion. t*rFr = speech/discourse (e) bs k h \ AElb" asFrF m\ BF aAEtf )r-e-pA m-e-aAEtf-dFdA { hS*A mrF ) jFr kA h asFrF = imprisonment/captivity. j'Ay\ = opression/tyranny of a beloved (b) . (g) he {\ pAv hF phl nbd-e-i * m\ ) mF . hS*A = ring/circle 5.

(f) fAh k {\ . s t-jAnF = tough life. 'EryAd = complaint. c = sky. hMmAm = a hot bath where a masseur gives massage and bath (g) i * n \ AElb" EnkMmA kr EdyA vnA hm BF aAdmF T kAm k 4. = at dawn. sB-dm . (d) rAt pF )m)m p my aOr sB-dm . { kr = appearance p p kA )F = delicate. (a) {r l\ mhE'l m\ bos jAm k hm rh\ y Etf^nA-lb { Am k p bosA = kiss. Etf^nA = thirsty (b) -tgF kA tms ?yA Ef?vA Ek y . sht = health. { rAhn = dress. thrFr = hand writing. (a) n f 'EryAdF { EkskF fo F-e-thrFr kA h kA )F { {rAhn hr {kr-e-t-vFr kA h p p n f = copy/print. -l = bath. (b) kAv-kAv s t-jAnF hAy t hAI n pC sbh krnA fAm kA lAnA { j-e-fFr kA h . here means to perform an impossible task (c) j bA-e-b-iE tyAr-e-fO* dKA cAEhy sFnA-e-fmfFr s bAhr { dm fmfFr kA h iE tyAr = authority/power. hTk\X {\ c -e-nFlF-'Am k h -tgF = injury/sickness. hm to aAEf* {\ tMhAr nAm k h . -l-e-sht ko br h dEKy kb Edn E'r\ hMmAm k . j-e-fFr = to create a canal of milk. dAm = net/trap my = wine. Doy Db'b jAm-e-'ehrAm k )m)m = a well in Kabaa whose water is considered holy. fFr = milk. Ef?vA = complaint. nFlF-'Am = blue colour/ complexion (c) t ElK\g gc mtlb kC n ho . fmfFr = sword .3. j = canal/stream. 'ehrAm = dress for 'haj' (e) Edl ko aAKo\ n 'sAyA ?yA mgr y BF hS* {\ tMhAr dAm k h . hTk\X = tactics. hS*A = ring/circle. kAv-kAv = hard work.

\ AElb" y yAl aQCA { h . fFd-e-jmAl aQCA { h mh = moon. gdA = beggar. EnhAl = tree (j) hmko mAlm { j t kF h*F*t lEkn h Edl k . . = habit (e) unk dK s jo aA jAtF { mh pr rOn* h . . E'r { itrAtA h h . EjskA m'aAl aQCA { h h m'aAl = result (i) E sStA ko rK AEl*-e-a?br sr-sN) .(j) haA { fAh kA msAEhb. h bosA = kiss (c) aOr bA)Ar s l aAy agr VV gyA sA r-e-jm s mrA jAm-e-Es'Al aQCA { h sA r-e-jm = Badshah Jamshed's cup. ik EbrAhmZ n khA { . n tf n 'hAd ko fFrF\ s EkyA Ejs trh kA BF EksF m\ ho kmAl aQCA { h hm-s n = together. fAh k bA m\ y tA)A EnhAl aQCA { h E sStA = one of Badshah Zafar's son. jmAl = beauty (b) bosA dt nhF\ aOr Edl p { hr lh)A EngAh h jF m\ kht {\. gc bA-h\gAm-e-kmAl aQCA { h . { ) = pro t ' (g) hm-s. m t aAy to mAl aQCA { h . a?br = greatest. AEl* = The Creator/God. jAm-e-Es'Al = clay cup (d) b-tlb d\ to m)A usm\ EsvA EmltA { h vo gdA Ejsko n ho -e-svAl aQCA { h b-tlb = without any enquiry. vnA fhr m\ \ AElb" kF aAb! ?yA { ? h msAEhb = comrade/associate . (h) */A dEryA m\ jo Eml jAy to dEryA ho jAy kAm aQCA { voh. k y sAl aQCA { h h u fA* = lovers. . 2. tfA = axe .. (a) h-n-e-mh. fFd = sun. sr-sN) = fertile. f rKn ko. vo smJt {\ k bFmAr kA hAl aQCA { h h (f) dEKy pAt {\ u fA* bto\ s ?yA { ) ? h ' . us's mrA mh-e.

bd = bad/wicked. . both are correct) = heaven. m BF dK l do cAr y fFfA-ao-*dh-ao-k)A-ao-sb ?yA { ? h . vnA O'-e-bd-aAmoE)-e-ad ?yA { ? h r k = jealousy. . m = wine barrel. (b) n fol m\ y kEr mA n b* m\ y adA koI btAao Ek vo fo -e-t d. hm-s n = to speak together/to agree. . g tg = conversation . = behavior . (f) rgo\ m\ dOwt E'rn k hm nhF\ *Ayl jb aAK hF s n V=kA to E'r lh ?yA { ? h (g) vo cF) Ejsk Ely hmko ho bEh t a)F) EsvAy bAdA-e-gl-'Am-e-m kb ?yA { ? h . *dh = goblet.?yA { ? h . . aAmo)F = education/teaching. t d = sharp/angry. bAdA = wine. O' = fear. b* = lightning. j-tj ?yA { ? h . . bEh t (or EbEh t . ad = enemy (d) Ecpk rhA { bdn pr lh s {rAhn h p hmArF jb ko ab hAjt-e-r' ?yA { ? h { rAhn = shirt/robe/cloth. tAr. (i) rhF n tA*t-e-g. gl-'Am = delicate and fragrant like owers. r' = mending/darning p (e) jlA { Ej-m jhA Edl BF jl gyA hogA h krdt ho jo ab rAK. (c) y r k { Ek vo hotA { hm-s n t. . k)-ao-sb = wine pitcher . (a) hr ek bAt p kht ho tm k \t ?yA { " ? h . aOr agr ho BF to Eks uMmFd p kEhy k aAr) ?yA { ? h g tAr = speech/discourse . (h) Epy frAb agr .GHALIB . hAjt = need/necessity.GHAZALS AElb kF fAyrF 1. j-tj = desire . tMhF\ kho k y a dA)-e-g tg ?yA { ? h .ms h h . m kb = like the smell of musk . .

the rst collection of his letters.authorities. Although his life and immediate possesions were spared. his main source of income continued to be the stipend he got from the Nawab of Rampur. During the ensuing years. . Ghalib died a few months later. on February 15th. little value was attached to his writings he was atly told that he was still suspected of having had loyalties toward the Moghul king. mainly with the purpose of proving that he had not supported the insurrections. \Ud-i-Hindi". was published in October 1868. 1869.

the very mind that had planned the rst modern city in India. in Rebellion 1857. Human and intellectual responses are more complex. skepticism. deprived of their fortunes. began to come to Ghalib only when the onslaught of 1857 caught up with the Delhi of his own friends. the Asian { people. is a document put together by a frightened man who was looking for avenues of safety and forging versions of his own experience in order to please his oppressors.. The years between 1857 and 1869 were neither happy nor very eventful ones for Ghalib. horror at the tactics of the resistance forces. His letters. And what he was feeling. undoubtedly frightened by the wholesale masacres in the city.. In short. he had completed his diary of the Revolt. It was obviously impossible for him to reconcile this conduct with whatever humanity and progressive ideals he had ever expected the British to have possessed. His trip to Calcutta (1828-29) had done much to convince him of the immediate values of Western pragmatism. As Imtiyaz Ali Arshi has shown (at least to my satisfaction). Joshi. K. had suddenly been ung into the broad.000 persons were hanged during the summer of that one year. Yet. he requested their destruction. and Ghalib witnessed it all.M. This immensely curious and human man from the narrow streets of a decaying Delhi. like many other Indians at the time. on the whole. however. republicanism. Many of his friends were hanged. admired British. more particularly by the merciless-ness of the British in their dealings with those who participated in or sympathized with the Revolt. as well { of its existence. the \Dast-Ambooh". are more real in the expression of what Ghalib was in fact feeling at the time. although fully imbued with his feudal and Muslim background. are some of the most graphic and vivid accounts of British violence that we possess. Ghalib was probably not as fully aware of his dilemma as the intellectuals of today might be to assign such awareness to a mid-nineteenth-century mind would be to violate it by denying the very terms { which means limitations {. I think it is reasonable to conjecture that the diary. written to people he trusted very much. not only to the Indian Press but speci cally to the British authorities. 1957). the \Dast-Ambooh" is a pro-British document. exiled from the city. P. Whereas they are fascinated by the liberalism of the Western mind and virtually seduced by the possibility that Western science and technology might be the answer to poverty and other problems of their material existence. During the revolt itself. He was fascinated by the quality of the Western mind which was rational and could conceive of constitutional government. as he did in th case of the Nawab of Rampur. In Calcutta he saw cleanliness. The sense that this very rationalism. The Western mind was attractive particularly to one who.C. was also attracted by wider intelligence like the one that Western scienti c thought o ered: good rationalism promised to be good government. prosperity. His diary of 1857. those private documents of one-to-one intimacy. Ashraf (Ashraf. Ghalib remained pretty much con ned to his house. most of them complicated and quite contradictory. Ghalib's ambivalence toward the British possibly represents a characteristic dilemma of the Indian | indeed. and therfore Western. rationalism as expressed in constitutional law. By October 1858. given the precociousness of his mind. but had also asked the fundamental questions about the sort of mind that planned that sort of city. \Ghalib & The Revolt of 1857". well-planned avenues of 1828 Calcutta { from the aging Moghul capital to the new. anti-British contents of his letters might not remain private. We cannot explain things away in terms of altogether honest letters and an altogether dishonest diary. the \Dast-Ambooh". The fact that Ghalib. they feel a very deep repugnance for forms and intensities of violence which are also peculiarly Western. criticizing the British here and there for excessively harsh rule but expressing. according to the letters. good city planning. whereas the letters. ed. And he even wanted to send a copy of it to Queen Victoria. and presented copies of it to the British . city planning and more. whenever Ghalib feared the intimate. matters are not so simple as that either. he was impressed by much that was British.Ghalib had many attitudes toward the British. be understood in terms of this basic ambivalence. We also know that \Dast-Ambooh" was always meant to be a document that Ghalib would make public. His letters. and . prosperous and clean capital of the rising British power. was also in the service of a brutral and brutalizing mercantile ethic which was to produce not a humane society but an empire. are to the contr ary. or detained in jails. Whatever admiration he had ever felt for the British was seriously brought into question by the events of that year. however. His bewilderment at the extent of the destruction caused by the very people of whose humanity he had been convinced can . he had not only walked on clean streets. His letters tell of his terrible dissatisfaction. in India. which prove that at least 27. published it. was horror at the wholesale violence practised by the British. This is no place to go into the details of the massacre I will refer here only to the recent researches of Dr. people who were his friends and would not divulge their contents to the British authorities.

and the accompanying sense of personal insecurity which seems to threaten the very basis of selfhood. He had no children the ones he had. There is also evidence. and almost doomed to realize the terms not only of its desperation but also its distinction. and died. One wonders just how many great poems were permanently lost to Urdu when Ghalib chose to turn to Persian instead. and nally the same triumph of a self which is at once morbid. a project which was to be titled \Partavistan" and to ll two volumes. but certainities. and himself a poet of considerable merit. of the powers of rationalism and scienti c progress of the West. the intrigues. He never had books of his own. usually reading borrowed ones. Many of these new poems are not panegyrics. inconceivable that *any* marriage could have even begun to satisfy the moral and intellectual intensities that Ghalib required from his relationships given that social order. had had looked for material but also moral certainities { not certitudes. the king's tutor in the writing of poetry and if their mutual dislike was not often openly expressed. and even then with ambivalence on both sides . still mad. or occasional verses to celebrate this or that. secure income. produce work that is. His brother Yusuf. tentative. There is also reason to believe that Ghalib not only regarded his own necessary subservient conduct in relation to the king as humiliating but he also considered the Moghul court as a redundant institution. So. Ghalib's obsession with material means.consisting mainly of petitions to patrons and government. that he should have a regular. on the other. obscure and indi erent. neither worse nor better than his earlier work. including the British. in a totally di erent time and circumstance. that Ghalib was aware. His relations with his wife were. There is. died in infancy. It is di cult to say precisely what Ghalib's attitude was toward the British conquest of India. however. And one has to confront the fact that the child never died who. Possibly Ghalib's own lack of interest in the later Moghul kings had something to do with it. the same overpowering sense of terror which comes from the necessities of one's own creativity and intelligence. Ghalib's life never really took root and remained always curiously un nished. it was a matter of prudence only. and the second volume was never completed. on the whole. quite clearly deducible from his letters. The only favouarble result of his connection with the court between 1847 and 1857 was that he resumed writing in Urdu with a frequency not experienced since the early 1820's. Given these two facts. . There is same ood of complaints. after Zauq's death Ghalib did gain an appiontment as the king's advisor on matters of versi action. elegant. however. India had a long history of invaders who created empires which were eventu ally considered legitimate. one has to realize that nationalism as we know it today was simply non-existent in nineteenth-century India. Although very di erent in style and procedure. reminds one of Bauldeaire. on the one hand. The Moghuls themselves were such invaders. and. Ghalib was never really a part of the court except in its very last years. Nor was he well-known for admiring the king's verses. Ghalib never had one and always rented one or accepted the use of one from a patron. and the lack of humane responses from the Moghul court. through the years. of course. something that he can stake his life on. First of all. the same self-absorption. In its material dimensions. in that year of all misfortunes. In a society where almost everybody seems to have a house of his own. He did. There is reason to believe that Bahadur Shah Zafar. Infact. he could not conceive that his marriage could serve that function. the same illusion { never really believed viscerrally { that if one could be released from need one could perhaps become a better artist. The evidence is not only contradictory but also incomplete. However. the sheer poverty of sophistication and intellectual potential. it is astonis hing that a man who had more or less given up writing in Urdu thirty years before should. highly creative. the last Moghul king. never materialized. of the redundancy. when reading his poetry it must be remembered that it is the poetry of more than usually vulnerable existence. Second {one has to remember { no matter how o ensive it is to some { that even prior to the British. Ghalib's one wish. to write the o cial history of the Moghul dynasty. perhaps as strong as the wish to be a great poet. deprived of the security of having a father in a male-oriented society. There was no love lost between Ghalib himself and Zauq. supposedly because of the great disturbances caused by the Revolt of 1857 and the consequent termination of the Moghul rule. Given the social structure of mid-nineteenthcentury Muslim India. which Ghalib completed is an indi erent work. it would be unreasonable to expect Ghalib to have a clear ideological response to the British invasion. and he later adopted the two children of Arif. He was also appointed. his wife's nephew who died young in 1852. did not much care for Ghalib's style of poetry or life. it is. at best. went mad in 1826. write many ghazals which are of the same excellence and temper as his early great work. The one volume \Mehr-e-NeemRoz". 1857. by royal order.

and who was soon to be recognized as a genius. next to Meer's. on the basis of Ghalib's horoscope. these last . On the other hand. male-dominant gures. and he didn't. We can safely conjecture that the migration from Agra. in verse as well as in prose.GHALIB . This. it is also true that Ghalib's circle of friends in Delhi included some of the most eminent minds of his time. Both his father and uncle died while he was still young. His pre occupation in later life with nding secure. obscure . this placed him in the humiliating situation of being socially and economically dependent on maternal grandparents. he grew up relatively free of any oppressive dominance by adult. I think it is safe to say that throughout these years Ghalib was mainly occupied with the composition of the Persian verse. is the most important and comprehensive styles of the ghazal in the Urdu language before he was even twenty. was born in the city of Agra. The period did. On the one hand. the evidence of his writings. at least some of his most important comtemporaries. One must remember that Ghalib was only thirteen at the time. who was beginning to take his career in letters seriously. and a devoted scholar of literature. which had once been a capital but was now one of the many important but declining cities. began a psychology of ambivalences for him. grammar. On the other hand. He lived in anonymity in Agra while tutoring Ghalib. I think it is reasonable to believe that Mulla Abdussamad Harmuzd { the man who was supposedly Ghalib's tutor. This remained the pattern of his work until 1847. however mark the beginnings of concern with material advancement that was to obsess him for the rest of his life. In or around 1810. which are distinguished not only by creative excellence but also by the great knowledge of philosophy. classical literature. there is evidence that most of what we know as his complete works were substantially completed by 1816. giving him. and pedantic. It is astonishing that he should have gone from sheer precocity to the extremes of verbal ingenuity and obscurity. but whose very existence he denies { was. or additions to his already existing opus. We are obviously dealing with a man whose maturation was both early and rapid. one can surmise. a real person and an actual tutor of Ghalib when Ghalib was a young boy in Agra. in January 1798. of course. language. He wrote rst in a style at once detached. and with various intricate and exhausting proceedings undertaken with a view to improving his nancial situation. of parents with Turkish aristocratic ancestry. to Delhi. and he soon abandoned writing in Urdu almost altogether. the year in which he gained direct access to the Moghul court. though he did not nd immediate or great success. and religions. in fact. whom Ghalib mentions at times with great a ection and respect. nally. Although any record of his formal education that might exist is extremely scanty. newly married poet who desparately needed material security. with the preparation of occasional editions of his Urdu works which remained essentially the same in content. probably on December 27th. accounts for at least some of the independent spirit he showed from very early child hood. personal. It is impossible to say when Ghalib started writing poetry. to a style which. and comfortable means of livelihood can be perhaps at least partially understood in terms of this early uncertainity. 1797. Imtiyaz Ali Arshi has conjectured. converted to Islam. The question of Ghalib's early education has often confused Urdu scholars. and he left for Delhi. but soon thereafter he adopted the fastidious. This. There is. Harmuzd was a Zoroastrian from Iran. theology.antly male-oriented society of Muslim India no one could expect Ghalib to take that event terribly seriously.INTRODUCTION Mirza Asadullah Beg Khan { known to posterity as Ghalib. deletions. and six years after he rst came to Delhi. His interest began to shift decisively away from Urdu poetry to Persian during the 1820's. The course of his life from 1821 onward is easier to trace. irrevocably. that the poet might have been born a month later. As for the marriage. a sense that whatever worldly goods he received were a matter of charity and not legitimately his. two events of great importance occured in Ghalib's life: he was married to a well-to-do. was an important event in the life of this thirteen year old. educated family of nobles. when he was 19 years old. a `nom de plume' he adopted in the tradition of all clasical Urdu poets. Perhaps it was as early as his seventh or eight years. among others. its grandeur kept intact by the existence of the moghul court. In Delhi Ghalib lived a life of comfort. legitimate. As to the precise date. it seems to me. and history that they re ect. and he spent a good part of his early boyhood with his mother's family. if not by the court. ethics. in the predomin. complexly moral idiom which we now know as his mature style. except whenever a new edition of his works was forthcoming and he was inclined to make changes.

Here is a compilation of about 35 famous ghazals of Ghalib. {\ aOr BF dEnyA m\ s nvr bohot aQC h . Following is the completed compilation of Ghalib's ghazals.anl. I must thank you for your cooperation during the preparation of this document.miami.gov . Argonne. It took me a lot longer than I anticipated to complete the work. along with the meanings of di cult urdu words. I will very much appreciate if you can post it on the nets on my behalf so that other ghazals lovers can enjoy it. Here is a excellent work of Ghalib's Ghazals compiled by Mr. . Let's congratulate Mr.From: hwhfac@umiami.Prakash Physics Division. I have also included a short version of Ghalib's life story. I would like to thank Rajiv for his suggestions and comments during the transliteration of the ghazals. I am posting the same for the bene t of the netters.ir.phy. With Regards. Dear Waheed. provided to me by Rajiv Chakravarti of University of Texas. Prakash.edu Subject: Collection of Ghalib' Ghazals Date: 27 Oct 93 15:58:03 EDT Hello fellow netters. kht {\ Ek \ AElb" kA { a dA)-e-byA aOr h h Enjoy ! -Prakash P.N. Waheed. IL 60439 e-mail : Prakash@anlphy. I sincerely hope that many people will like it and I wish to congratulate and thank Mr. Prakash for his e ort. -Prakash Dear Friends. Thanx. Argonne National Lab. Prakash on the completion of this work which has taken considerable e ort and time of his.

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